Menos Lars Von Trier, mais… Néstor!

Sylvia Colombo

Há algo de errado num país em que nada menos do que DOIS filmes sobre um ex-presidente morto dominam todo o debate cinematográfico enquanto mal ficamos sabendo sobre a estréia retumbante de “O Grande Gatsby”, versão de Baz Luhrmann, nem sobre a polêmica já armada pelo novo do dinamarquês Lars Von Trier, “Nymphomaniac”.

A Argentina já foi mais cosmopolita culturalmente. Festivais de cinematografias de diferentes partes do mundo e mesmo variedade geográfica no cardápio do cinema comercial eram marcas registradas. Em tempos de kirchnerismo e consequente isolamento cultural, isso vai ficando mais raro. As barreiras à importação e o discurso ideológico-nacionalista vão causando rejeição à produção estrangeira.

Para agravar o quadro, os de dentro do próprio círculo do governo não se entendem. O filme “Néstor – La Película”, que começou a ser rodado em 2011 pelo uruguaio radicado em Buenos Aires Adrian Caetano (“Crónica de una Fuga”, “Oso Rojo”), vinha causando grande expectativa. Esperavam-se revelações e bastidores da primeira fase do kirchnerismo _a juventude política de Néstor, sua presidência e os detalhes sobre sua enigmática morte. Prestes a ser finalizada, porém, a película foi arrancada das mãos de Caetano e entregue à Paula de Luque. Os produtores não estavam de acordo com o recorte do uruguaio e preferiram o olhar mais “oficial” da diretora chapa-branca, que tinha em seu currículo apenas um filme grande, o comercial e panfletário “Juan y Eva”, sobre o casal fundador do peronismo. Detalhe, a produção usou dinheiro público, de impostos dos cidadãos argentinos.

Há cerca de um ano atrás, a versão de Paula entrou em circuito. Tratava-se de um filme laudatório, com trilha sonora (Gustavo Santaolalla) grandiosa, focado numa suposta intensa vida militante do presidente _que já se sabe que não ocorreu_ e elogiosa dos avanços da atual gestão. Havia, entre outras coisas irritantes, a história de um jovem violinista que havia recebido seu instrumento de Néstor, e que aparecia aqui e ali arranhando suas cordas com uma luz romântica sobre ele. Quando Néstor dava seus discursos, óbvios e banais, era acompanhado por uma trilha para dar a impressão de que era um sábio e um grande orador. Tentativa fracassada e jeca, obviamente.

Agora, Cristina Kirchner resolveu dar vida à primeira versão do filme. Não casualmente, num momento em que o ex-marido está sendo intensamente atacado por meio de denúncias jornalísticas de que havia chefiado uma mega-operação de lavagem de dinheiro. No último domingo, enquanto o jornalista Jorge Lanata expunha as falcatruas de Néstor e uma verdadeira gangue, Cristina postava tuíts elogiando o filme de Caetano e dizendo que a película lhe fazia lembrar-se do olhar do ex-marido.

Apesar de ligeiramente mais crítico e menos chapa-branca que o filme de Luque, a versão do uruguaio não toca temas delicados e constrói uma imagem positiva e até grandiosa do inexpressivo Néstor. A única diferença em seu favor é de que seu filme demonstra ter sido feito por um cineasta de verdade. É melhor cinematograficamente. Tem imagens mais selecionadas de campanhas do passado, curiosas passagens de sua vida pessoal, uma reconstrução de Santa Cruz nos tempos da juventude dos Kirchner, e também mais informação. Se no filme de Paula se passava muito por alto pela crise do campo, a eleição de 2003, no de Caetano esses episódios estão melhor contados. Não é preciso estar submergido na história argentina para entender algumas passagens e personagens.

Resulta curioso ver e comparar as duas versões. A de Paula já saiu de cartaz, a de Caetano está só no Youtube, mas o diretor promete um corte novo e a obra deve chegar ao cinema, já que a presidente pediu e autorizou _é assim que funcionam as coisas no reino de Cristina…

Ainda assim, faz falta saber e ver mais da produção internacional aqui. Tirando o Bafici, festival de cinema independente que ocorreu há poucas semanas, sabe-se pouco do que se faz lá fora. Publicações especializadas não há, e os cadernos culturais, se cobrem muito bem (melhor que no Brasil) a área de literatura, são uma negação quando o assunto é cinema. Uma pena, menos Von Trier, Almodóvar, J.J. Abrams, mais Néstor Kirchner. O que será da vida cultural portenha se o kirchnerismo persistir pós-2015?

 

 

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For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. “Although it was bleak, I saw beauty in the bleakness.” When she wasn’t outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, “flapping about surreally in their robes like crows on wheels.”At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. 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